Post-internet, post-photography, post-human, ... Émilie Brout & Maxime Marion seem to metabolize all the "posts". By tearing apart the classic dualisms opposing organics and technology, real and virtual, human and animal, wild and domestic or even original and copy, the duo notes a cyborg reality, naturally and culturally hybrid, that has always already occurred but nevertheless keeps increasing its potentialities with the development of technosciences.

"Quickening" thus implements several zones of indistinction between a priori antinomic poles. Firstly between bodies and machines, in particular with Denim, a series of jeans sealed under plastic, acting as specimens of an archeology of the future, showing the marks of mobile phones, as if they were just one with their owner, and have become prosthesis or augmented reality of their own bodies. This indifferentiation between organic and artificial can also be found in Oasis Max Life, a sculpture made of touchscreens embedded in a brick of floral foam showing animated GIFs of green plants taken from the Internet. A cyborg plant, where nature, however wild it may be, is nothing more than just a digital code for domestic use. This shifting is represented in Chien-loup which consists of multiple camouflage jackets sewn together so to create the pattern of an endless tree on a neon-orange background, an invisible color for game animals. A high-tech textile here allows predators-hunters to fade into the forest and to adopt the principle of camouflage used by their preys, the virtual future of nature thus mixing up for human beings with a strange becoming-animal.

Another way of blurring boundaries is at work with the ❤ Paintings: four mobile phones hung up on the wall like little paintings display photos taken from different Instagram accounts followed by the artists, partly covered and reproduced identically by means of painting. It’s a way for the artists to take these picturesque images back to their possible unconscious, namely by a set of representations originating from art history, especially from German Romanticism, which built and informed our perception of the landscape. Here, just like with cyborgs, there is no more opposition between nature and culture, original and copy, everything is already hybridizations and replications with no origin, model or essence. It's a similar type of indifferentiation which seems to operate with Clé USB reçue par erreur contenant l’œuvre La Liberté en écorchée – version longue d’ORLAN et saisie dans la glace par Laurent Pernot via www.matchart.net. As a matter of fact, like the title indicates, the work was produced from an USB key of ORLAN, a cyborg artist by the way, the artists received by mistake and which they seized in fake ice thanks to the artist Laurent Pernot. This piece made collectively questions notions such as the author, the original and the copy as well as the truth and the false.

With Lightning Ride, it is now poles of technology, organics and mysticism that collide with electricity as a connecting point. The video is produced from excerpts of "Taser Certifications", a sort of ceremony authorizing in the United States the use of Tasers in the condition of being tased by someone else. Filtered with the Photoshop’s "oil painting effect”, slowed down and accompanied by a disturbing soundtrack, the succeeding images show us bodies and faces whose deformations and positions evoke a feeling of pain as well as a Christian ecstacy. Everything unfolds as if the miracle of electricity, symbol of the rationalization of the world, revived paradoxically an aspiration to transcendence, antipodes joining each other and disappearing in profit of a new map of possibilities.

Last May Satoshi Nakamoto was defined one of the latest “big mysteries of the digital age” by the New York Times. We are talking about the creator of the crypto-money Bitcoin, a revolutionary and decentralised payment system through which anonymous and non-falsifiable online transactions can be made independently from governments and central banks.

What seems quite extraordinary is that, in an era in which the surveillance systems of the NSA and other intelligence agencies could get hold of any information they want, we still do not know exactly who Satoshi Nakamoto is. For this purpose, the artists Emilie Brout & Maxime Marion have tried to create some (real) fake ID documents for him in order to provide some proof of his existence.

Completely out of the blue, in 2008 someone using the name ‘Satoshi Nakamoto’ published a research paper on the mailing list Cryptography, setting out the basic principles of the revolutionary Bitcoin protocol. In 2009 the first version of the Bitcoin software was made available and he created the first units of the currency. Satoshi is well-known for communicating uniquely through e-mails and not over the phone. His last contribution dates back to the end of 2010 ? which was exactly when his new technological invention was starting to attract attention. That was also when he handed the control over to Gavin Andresen, Bitcoin’s chief scientist. It seems that Satoshi Nakamoto, who is described by his peers as a genius, disappeared from public view just as suddenly as he had attracted attention to him.

Despite the regular media announcements claiming the identity/ies hiding behind the pseudonym has/have been discovered, all the potential people have denied being behind it with statements such as “I am not Satoshi Nakamoto … but even if I were I wouldn’t tell you”.
A name which is often quoted is that of computer specialist Nick Szabo, an ex-cypherpunk (a group whose aim was ensuring the protection of private life through the use of cryptography), who developed a decentralised digital currency called Bit Gold ? which in a way was a direct forerunner of Bitcoin.
Before him, Satoshi « Dorian » Nakamoto, a 65 year-old Japanese-American based in California made the front page of the magazine Newsweek on 6th March 2014 when he was presented as “the face of Bitcoin”. Because of his name, his life became a nightmare due to all the media attention. In order to support his “revelations”, the Newsweek journalist brought up his past as a systems engineer working for top secret defence projects, together with some statements by people close to him describing him as a humble genius obsessed with private life. It must be said that, if that were true, it would be legitimate to wonder why he chose to use his real family name.

Fascinated by this modern myth, the artists Emilie Brout & Maxime Marion attempted last year to create some (real) fake ID documents for him by using darknet, i.e. networks ensuring anonymity and the hideout of all sorts of activities (whether legal or not).
That was the beginning of a long investigation online to try to gather all the necessary elements in order to create a fake Japanese passport. Indeed, Satoshi states he is Japanese on the forum of the P2P foundation. “Research on web.archive.org and the reddit.com Bitcoin forum confirms that the date of birth given by Nakamoto himself is 5th April 1975”, state the investigators. They chose to make the passport issue date coincide with the registration date of the bitcoin.org website by Nakamoto in Panama on 18th August 2008.

“From his first public message and up to his disappearance on 12th December 2010, Nakamoto did all he could to protect his identity”, wrote the artists while listing the strategies he used to cover his traces. Neither the analysis of his code (which seems that of brilliant mathematician good at cryptography and a skilled but not professional programmer) nor his writing style have led to a conclusion ? therefore giving rise to all sorts of more or less supported speculations and conspiracy theories. As he has always used different IP addresses, identifying his exact location has been difficult. Others have paid attention to when he sends and replies to emails, but he writes at different times and therefore cannot easily be linked to a time zone. Some people have even tried to analyse his writing in order to determine his nationality. However, although his favourite language seems to be English, he switches between British and American spelling and colloquial expressions. This could either mean that Satoshi tries to hide his nationality or that he is in fact more than one person or even a whole organisation.

As ID photo, Emilie Brout and Maxime Marion chose the portrait which is usually used to represent him on the Internet and in the media. “In reality, this image comes from the video Seven Billion: Are you typical?, produced by the National Geographic in 2011, which presents a synthesis of the average human face, the face of M. Everybody”, explain the artists, who had to touch up the low definition photo to make it credible. “We tried to reconstruct an identity on the basis of the information we were able to gather and to produce proof of Satoshi Nakamoto’s existence by means of the technology he created …”. .

Once this biographical information had been gathered, Emilie Brout and Maxime Marion started navigating with TOR ? the anonymity network ? to get in touch with forgers, covering their traces via a secure email service and a VPN (virtual private network). After searching for several weeks, they reached a deal with a group probably based in Cambodia that could produce high-quality Japanese passports. Of course, they paid for this in bitcoins, the popular currency for online anonymous transactions.
After obtaining a scan of the passport for validation (photo), the artists paid a second down payment and the passport was sent on 7th June 2014 (placed inside a book according to the counterfeiters’ version), but never reached its destination. According to the latest news, the “goods” are stuck in Romania. There is no way of checking.

The scan is to this day the only existing trace of this passport ? ultimately, it is a digital file which is just as intangible as its owner. “We did not manage to make him real, which means Satoshi Nakamoto remains in a grey area, between reality and fiction, thereby increasing the rumours and fantasies surrounding his character”, says Emilie Brout. Even if the artists didn’t manage to capture him in an artefact, their project Satoshi Nakamoto (The Proof) encourages us to delve into the troubled waters of contemporary economies and the darknet ? a place with a strong fictional element to it. At the same time, through this project we can pay tribute to a contemporary myth who redefined value while also enabling Bitcoin to develop as a real open source project, regardless of the true identity of its creator.

The project also has a second more psychedelic side to it, called Satoshi Nakamoto (The Myth). The artists produced an animation using one of the 3D face models that is most widespread on the net. Then they placed Satoshi Nakamoto’s appearance over it. What we see is a mask that doesn’t look at us but constantly divides into two and changes. A Janus with multiple faces ? a monstrous enigma that is not ready to reveal its secrets.

In the Oxford English dictionary, value is primarily defined as “the regard that something is held to deserve; the importance, worth, or usefulness of something”. In the Merriam-Webster, “a fair return or equivalent in goods, services, or money for something exchanged” comes first, underlying the prominence of economics in the age of capitalism. Both definitions, however, agree on one thing: setting a value for something is more a matter of agreement than objectivity. How can you say that a return is “fair”? That something is regarded as much as it deserves?

In today’s post-capitalist, post-digital, post-whatever societies, moreover, both these definitions look outdated. Today, value is much more unstable, much more ephemeral, much more liquid than this. And it’s, more often than not, unfair. How much is worth one minute of labor? How much is worth the future? How much is worth Greece? How much is worth a company trading in information? How much is worth a single piece of information? How much is worth attention? How much is worth a work of art? Each of this things, the very same thing, may vary on a scale from 0 to 1 billion something.

The value of information, attention and works of art is so unstable that, very properly, they have become currencies themselves.

The meaning of value in a post-whatever era, the mass abundance of images – from amateur image production to professional images to algorithmically generated images – and the consequent shift of the artist from production to post-production – and from the creation of works to the generation of formats – are all recurring topics in the recent work of Émilie Brout and Maxime Marion. Since 2009 the French couple has been focusing on projects that, renovating the modernist language of film, make an extensive use of appropriated content from the web, which is freed from its status of meaningless, apparently valueless data floating in the information networks to be rearranged in complex, algorithmically generated, sometimes interactive narratives, or into powerful, iconic images.

In this context, the foundation of Untitled SAS (2015) may look like a smart yet radical move out of this line of research, while it is, in fact, a further step in the same direction, though less visual and more conceptual. In French, SAS stands for “société par actions simplifiées”, the equivalent of a registered limited company (LTD or INC in English). Untitled SAS is an immaterial work of art whose medium is a company business, with “work of art” as corporate purpose and with a capital open to everybody interested in buying shares at their own price. The starting capital of the company is set to 1,00 € (the minimum legally possible), and 10,000 shares are made available. With a freely negotiable capital, the company allows each collector/shareholder to buy and sell shares at the price he set, thus influencing the company’s overall value (displayed on a dedicated website).

In order to set up the company, the artists worked with one of the largest and oldest lawyer’s office of Paris, Granrut Avocats, who had to resolve many new legal paradoxes for its official registration in the French Trade and Companies Register. A similar gesture was performed, years ago, by the Austrian-Swiss collective etoy, who registered themselves as an actual company in Switzerland, with making art as its corporate purpose. But while etoy, in the early years of the internet, were embracing – in an over-affirmative way – the utopian dream of the new economy in order to set them free from the rules of the art market, Emilie Brout and Maxime Marion are more interested in giving birth to a useless yet fully functional machine that performs and mirrors the ways of working of the current art market, where the value of artworks looks less rooted in the material value of the object or in the cultural value of the work, and more in the ability of a few disruptive characters to manipulate it at their will. At the same time, however, as a socially owned, immaterial artwork with a starting value set to the minimum and able to increase with the help of a community of collectors/shareholders, Untitled SAS is the archetypal work of art: like a medieval church, it mirrors and represents the power in charge, while at the same time being available for the larger society. It also bears some spiritual connotations, recalling the Zones of Immaterial Pictorial Sensibility (1959) by Yves Klein: the empty space exchanged for gold is replaced by the empty shell of a company turned into shares. Finally, it is the perfect portrait of companies like Facebook, that started valueless and evolved into modern golden calfs.

In such companies, value is mostly generated by their ability to attract users, to welcome user generated content that draws in other users, and to capitalize on their private data: which turns amateur cultural production and privacy into two key issues to understand the present day. In this context, Emilie Brout and Maxime Marion often become modern gold diggers involved into what David Joselit called “an Epistemology of Search”. This can be seen in many works on show, including Regulus, Ghosts of Your Souvenirs (2014 – ongoing), Les Nouveaux chercheurs d’or and Return of the Broken Screens (2015). Regulus is a generative animation based on a program that browses websites like Flickr, Instagram and Google Images in real time, in search of pictures that respond to some formal criteria then used to organize the visual flow. While the focus of their interest – the presence of round shapes – takes center stage, the main subject of these pictures – and the reason why they have been shared in the first place – fades in the background without disappearing completely, being perceived as a background noise or a flow of subconscious images. The piece also shares with Untitled SAS an experimental attitude toward how cultural value is translated into market value: instead of being sold as a unique or an edition, this ever evolving piece is chunked into small samples and sold by weight.

Like Regulus, Ghosts of Your Souvenirs is an ongoing collection of found amateur pictures where the main subject becomes secondary when the viewer understands the organizing principle of the collection: the presence, in the background, of Emilie or Maxime (or both), posing for a photographer who’s not interested in them. In order to develop the project, the artists stood for one or more days in a chosen place of touristic interest – on the Rialto Bridge in Venice, or in front of Notre Dame de Paris – trying to be featured in as many tourist photos as possible; and later spent hours on image sharing sites like Instagram and Flickr, looking for images taken that day in that place. The collection thus becomes an outsourced self portrait, that takes advantage of the ubiquity of the camera eye, the seamlessness of sharing and the informational nature of digital images, all equipped with their metatags.

If Regulus and Ghosts of Your Souvenir deal with the explosion of amateur cultural production, other works in the show are a take on online economics. Les Nouveaux chercheurs d’or is an ongoing collection of free golden samples of golden products sold on the internet. Gold is a universal symbol of value, and a way to turn any prosaic, mass produced item into something shiny and desirable. By collecting these samples, Emilie Brout and Maxime Marion are interested in the conflict between their luxurious look, their free nature and the complexity of the economics that produced them, that they research in depth, trying to provide as much information as possible about the collected item.

This interest in the background story of the collected pieces is shared by Return of the Broken Screens, based on a collection of broken display technologies. Commercially speaking, tech items are valuable when they work, and totally valueless when broken. A small incident can turn an expensive gadget into something you are lucky if you don’t have to spend money to get rid of it. But a small incident can also be an interesting story; and a damaged display is just another kind of display. That’s why Emilie and Maxime research into these stories and create customized abstract videos for these displays, responding to their cracks and choosing shapes and colors according to their ability to activate a given part of the screen – fully aware that the decay will go on and that the work in the present form will be short lived.

Actually, most of the works by Emilie Brout and Maxime Marion have a performative nature that makes the work displayed in the gallery appear as the temporary, inevitably limited instantiation of an ongoing process, rather than a finished piece. This is literally true for Nakamoto (The Proof), 2014 – 2015, an attempt to produce a portrait of the legendary founder of Bitcoin using the economic and technical system he gave birth to as a “brush”. Bitcoin is a virtual currency widely used on “darknets” like the Tor network, and allowing to perform online transactions anonymously. Despite (or thanks to?) its virtual nature, during the financial recession its value has grown up constantly, and it has been perceived as a safe-haven asset. With an estimated fortune of several hundred million euros, Satoshi Nakamoto still lives in the grey zone between fiction and reality, thanks to his ability to preserve his identity. After collecting all the available information about Nakamoto, Emilie Brout and Maxime Marion browsed Tor in order to get in touch with a group of passport forgers, probably based in Cambodia, and commissioned them a fake passport of Nakamoto, in the attempt to produce an evidence of his existence using the technology he created. After getting a scan of the passport for validation, they paid the second instalment and the passport was shipped on June 7, 2014, but it was never delivered to them, the scan still being the only evidence of its existence. Unavailable as an artifact, as a story Nakamoto (The Proof) works as a research into the folds of contemporary economics, and a tribute to a modern myth that was both able to reinvent value as well as to preserve himself to be turned into a product.

Standing before a work such as Émilie
Brout and Maxime Marion's Dérives, spectators will perhaps experience a
certain sensation of disorientation, of floating adrift. In the work, 2,000
images of water, excerpts from throughout the history of cinema, are edited by
a machine into a single continuous sequence: an endless film. This film
contains only one central character: the image of water. Excepting power
failure, the film never ends, preferring instead a slow deceleration into
moving images of ponds, of puddles, or a glass of water, before transforming
into tears, mist, a light drizzle which eventually breaks out into a downpour,
leading to thunderstorms, hurricanes, shark attacks, and tsunamis before
calming back down into a light stream of images and then starting all over
again. It is a constant ebb and flow, without end, that rises and falls like
the tide; an endless film that is always the same — a film about water
— and yet which can never be exactly the same: a fluid-film flowing
straight out of the fragments of Heraclitus.

It is easy to be swept up into the
pleasures of the spectacle in a work such as Dérives. Its form allows us
to permanently oscillate between recognition and anticipation: a sort of
name-that-sequence game wherein we try to identify each one of its famous and
not-so-famous sequences, mixed in with a certain feeling of anticipation as we
wonder what next image will carry the wave on its journey.

As for actually attempting to read this wave, i.e. to dive beneath its surface and to observe its construction
from within its depths, the exercise is far more perilous. If we start with
the 2,000 images, we quickly realise that this database is nothing more than a
cloud of disparate points. Nowhere do we find this wave, this flow of water
with its internal movement; instead we find nothing but a collection of drops.
For, in reality, the work is far more than a simple collection wherein one need
only to collect a series of images in order to capture the "image" of
water in all its states. Indeed, there are 2,000 image sequences that together
make up the work; but it is not enough to reunite 2,000 sequences alone in
order to compose a work such as Dérives. Hence a drunken sense of
disorientation before a flow of images that we appreciate on an intuitive
level, without being able to fully identify its origin.

"Mr Palomar sees a wave rise in the
distance, grow, approach, change form and colour, fold over itself, break,
vanish, and flow again. At this point he could convince himself that he has
concluded the operation he had set out to achieve, and he could go away. But it
is very difficult to isolate one wave, separating it from the wave immediately
following it, which seems to push it and at times overtakes it and sweeps it
away…" –Italo Calvino, Mr Palomar

When spectators are informed that the film
they are watching has been "generated" by a computer with a dedicated
algorithm, their first reaction is often to ask if the result has been
"programmed in advance". If one where to reply no, the algorithm
varies the film endlessly, the spectator often concludes that the process
is therefore "purely random". As if it is perfectly natural, even
necessary, to oppose "programmed" (i.e. "predetermined")
processes and "random" (i.e. "undetermined") processes. But
just such an opposition would never work in the case of Dérives, whose
operating principle is to create a sole and unique film, always coherent, while
navigating within a fluctuating collection of images that never produces the
exact same result. In other words, a purely "random" film would be
nothing but incoherent juxtapositions of sequences that had nothing to do with
each other, a cacophony without much artistic value. This is clearly not the
case of Dérives, for whom the sinuous juxtapositions of images are not
only logical, but also full of an undeniable poetic and emotional force. On the
other hand, a film created by an entirely "predetermined" program,
i.e. wherein the machine would have no room for autonomous action, would harken
back to a classically linear film, more or less edited "by hand" with
a sequence of images more or less determined by its creator in advance. This is
clearly not the case either, given that this flow of images named Dérives
will never be exactly the same sequence of images.

The difficulty comes from our inability to
perceive the rich interaction of simple elementary particles (the
images) and the process which reunites them into a common purpose (the image).
If, perhaps inspired by Mr Palomar, the spectator attempts to analyse each
algorithmic edit separately (sequence A > sequence B), he or she will miss
the algorithmic ensemble which constructs the film over time. This larger
sequence can only be observed as a whole, which ironically means in the role of
a classical spectator of cinema allowing him or herself to be swept away by the
image.

"While our senses respond to
everything, our soul cannot pay attention to every particular. That is why our
confused sensations are the result of a variety of perceptions. This variety is
infinite. It is almost like the confused murmuring which is heard by those who
approach the shore of a sea. It comes from the continual beatings of
innumerable waves." – Gottfried Wilhelm Leibniz, Discourse on metaphysics, §33; Montgomery, George R. &
Chandler, Albert R., translators.

In its natural form, as in the program conceived
by Emilie and Maxime, a wave is composed of a multitude of different
components, interacting on multiple levels and all at once. The global form
emerges from the complexity of these individual interactions, hence the
sensation of an intangible perception: the "confused murmuring" of
which Leibniz speaks, and which cannot be perceived outside of an emotional
affect, both intuitive and all encompassing.

For the author of an algorithm, it is
often impossible to write the program in one single stroke, especially given
that the complexity of its final output makes it all too difficult to
orchestrate via some masterfully rationalised architecture. Nevertheless, a
computer program must be executed within the constraints of the machine, which
requires for its part both explicitness and rationality. There is no room for
ambiguity in the machine, for whom such an ambiguity can only lead to a refusal
of execution:

"error: call of overloaded
'function(type)' is ambiguous"

How then does one write just such an algorithm
— at once subtle and evolving, i.e. generative — within a materially determined
assemblage with its language of explicitly rational constraints?

The solution lies in the orchestration of
individual interactions of each drop, but multiplied up to the scale of an
ocean of possible droplets. This technique of using the singular, only
propagated to fill a field of possibilities, is precisely one of the internal
logics proper to computer programming. It is a method for treating a great
number of data points individually, but all at once.

There is a table of values at the heart of
Dérives which describes the possible interactions of all the images
contained within the work. It is a list of keywords and values arranged in
categories and which allow for the establishment of a general framework for the
different narrative, logical and aesthetic possibilities for the images. It is
a table of values cross-referenced with each and every image. In the category
"divisions of water", for example, we find values such as
"unitary mass", "numerous droplets", or "rain".
Through such a description we can begin to see a certain distinction made
between two complex ideas of "unity", along with the transition that
might lead us from one to the other: ocean and rain are two opposing
forms of water masses, opposed precisely in the manner in which they
gather their internal elements. By explicitly describing this opposition and
the transition between them, the machine can then deal with such subtleties
much more easily. Each of the 2,000 images is described to the machine in this
fashion, image by image. This category, "divisions of water", is more
or less factual, as are descriptions of "weather" or of
"light". They allow for the program to understand characteristics of
the images that are more or less objectively perceivable by the spectator. But
we also find other, more subjective categories, such as those of
"hedonism", which describes images to the machine on an entirely
different scale of measure. This category, along with descriptors of the level
of "tension" within the image, allow Emilie and Maxime to reunite
images in a far more subtle manner, on the level of sensations, all the while
making them readable to the machine. From these descriptors they can
then run a series of routines that string together images in sequences that
progressively increase the "tension" until a certain level of
"hedonism" is achieved. By multiplying these criteria and running
them in parallel, the result is made far more complex without having to play
off of one and only musical cord. It is a subtle dance of sine waves, flowing
in and out of interactions between several simultaneous criteria which,
individually, are linked together linearly but which collectively make possible
a more complex form: a wave of images.

This central table of Dérives —
these descriptors of the internal forces of the images — is a lot smaller than
one might think: not more than about twenty categories. And within each
category there are very few levels of variation: usually two or three,
sometimes a little more, but never growing beyond a dozen. For it is not in
multiplying the number of categories that such a table will somehow improve the
"generative" qualities of a work. To the contrary, it is precisely
the reduction of criteria to their strict minimum which gives Dérives
its force as a work of art, allowing it to dance a fine line oscillating
delicately between the chaos of a tsunami and the calm of a sleepy riverbed.
Too many criteria would push the work to the edge of entropy: a chaos similar
to a film edited by the roll of dice. And too few categories would force the
film into an all-too-predictable form: a sort of mechanical loop of the same
repeating themes. It is in this in-between state where we find the internal current
of the algorithm, wherein the film is always at the edge of change while
retaining coherence and a sense of logical progression. It is at once
discernible, perceptible for the spectator and yet impossible to fully grasp,
impossible to put put our finger on the exact nature of the image which would
allow us to freeze the wave in one single frame.

As we let wash over us this dance of
differing and deferring criteria, generated in an undulating movement of the
program which is also that of the image, the spectator enters and exits the
image as they please. Given that the program theoretically never stops, Dérives
has no "duration" in the classical cinematic sense of the term, i.e.
a time delimited by the physical beginning and end of the media device. Nevertheless —
and this is the case with any film —, there is yet another "duration"
which emerges from the image: the duration generated by the consciousness of
the spectator. Just as in Bergson's description of sugar dissolving in a glass of
water (here held by Mia Farrow or Emily Watson) and the time it takes to
dissolve, each and every spectator drinks these images in their own manner, as
if they were destined for us individually. Dérives is this particular
scene: each and every spectator perceiving their own specific moment within the
ebb and flow of an image generated here and now, before our very eyes, just for
us, and yet which does not stop for us either. By following the movement of the
algorithm we are perfectly capable of perceiving the logical transitions from
one sequence to the next, and even of understanding the criteria which unite
them; and yet incapable all the while of freezing the image as a whole and
observe all its interactions in a rational unity. Our consciousness enters and
exits this current while the ebb and flow of the image remains quite
objectively within its own logic and its own temporal existence. A play,
algorithmic in its nature, of the rising tides of images and of the image. The
misty image of a wave, a vague, floating image, or, as one can only say in
French, une image vague.